Believe it or not, art is an asset. And like any asset, such as your car, your home, or your stamp collection, you insure it. Interestingly as soon as one acquires one of these items, one automatically seeks the advice of an advisor or broker to ascertain adequate insurance and annual premiums ensure thereafter. Yet, the same cannot be said for art.
Speaking with my insurance broker on a somewhat frequent basis, I am always surprised to hear how infrequent his clients seek the advice of a professional when estimating the value of their art collection; the consequences of not having an up to date valuation, and therefore a current value, can mean the difference between being reimbursed for loss or damage appropriate to its market value or incurring a loss on that initial investment.
Obtaining a professional appraisal of your artwork operates in much the same way as seeking a value for other assets. Credentials should be assessed; market sector and specialty experience should be examined together with the level of tertiary qualifications and membership with an industry association, such as the Art Consulting Association of Australia (ACAA).
Most importantly, seeking the services of an independent, objective and impartial professional will result in a more accurate valuation, and without the potential bias of an invested interest in the artwork and therefore its value.
There are a number of attributes which an experienced appraiser will utilise in order to determine the value of your artwork:
Additionally, depending upon the nature of the valuation, i.e. the artwork is being considered for a charitable contribution or gift, or the artwork is part of the asset pool in a Family Law property dispute, the valuation may also include consideration of future capital gains tax issues.
Valuing your art necessitates the same respect as valuing your other lifetime assets. Regular, up to date valuations of your artworks are an important adjunct to the ongoing maintenance and accurate documentation of your collection.
Seeking the advice and services of an experienced and knowledgeable professional is a critical step in the provision of an accurate art valuation. Catherine Asquith Art’s valuation services offer new and established collectors a comprehensive appreciation of their collection, its current parameters and indeed, future directions.
Catherine Asquith has been working within the Australian art market, and more recently, the Asian art market, across both the primary and secondary sectors for the past twenty years and is a member of the Art Consulting Association of Australia (ACAA).
The Sovereign Asian Art Prize, hosted by The Sovereign Art Foundation, was established in 2003 and is now recognised as one of the most prestigious awards for contemporary art in the Asia-Pacific region.
Held annually, the Sovereign Asian Art Prize invites mid-career contemporary artists, who have been nominated by a selected board of art experts, to enter up to three artworks online. Entries are then judged by a small judging panel consisting of independent art experts and professionals from the region, who select the best 30 artworks from a range of digital images. The 30 finalists are then exhibited in a prominent public space in Hong Kong, where the pieces are judged a second time, in person.
This year, the finalist works will be exhibited at Christie’s Hong Kong (19-21 April) and thereafter at The Rotunda, Exchange Square, Hong Kong (25 April–4 May).
The organisers of the event have described the finalist works as indicative of “cutting edge contemporary art practice” from the region. Writer and curator David Elliott, who chaired this year’s judging panel, said the 30 finalists had been a “revelation” and “[n]ot only has the region been covered in a more comprehensive way than before, but also a new generation of artists is starting to emerge that is impressive in the range and density of its work. This is clearly shown in the finalists in this exhibition.”
The fifth edition of Art Basel in Hong Kong, which featured 242 premier galleries from 34 countries and territories, has ended on a high note. This year’s show included memorable moments such as:
The five show days were attended by private collectors as well as directors, curators, trustees and patrons from nearly 80 leading international museums and institutions across 20 countries, including Art Gallery of New South Wales, Sydney; Auckland Art Gallery Toi o Tāmaki, Auckland; Centre Pompidou, Paris; Hara Museum of Contemporary Art, Tokyo; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Long Museum, Shanghai; MoMA PS1, New York; Mori Art Museum, Tokyo; Museum of Contemporary Art Australia, Sydney; National Gallery Singapore, Singapore; National Museum of Modern and Contemporary Art, Seoul; New Museum, New York; Rockbund Art Museum, Shanghai; San Francisco Museum of Modern Art, San Francisco; Serpentine Galleries, London; Tate, London and Solomon R. Guggenheim Museum, New York.
With numerous gallery openings and an expanded program of parallel events, the Art Basel week continued to spotlight Hong Kong's vibrant arts and cultural scene.
(from “Art Basel Hong Kong” VIP Program newsletter 4th April 2017)
The fifth edition of Art Basel’s show in Hong Kong will commence on March 21 at the Hong Kong Convention and Exhibition Centre (HKCEC) in Wan Chai.
Bringing together gallerists, artists, collectors, curators, museum directors and critics from across the globe, Art Basel HK will present a total of 242 leading galleries from Asia, the Asia-Pacific and the rest of the world.
The fair comprises a number sectors: “Galleries”, the fair’s core sector showcases 20th and 21st century works, and also includes the “Insights” sector, the latter highlighting the curatorial projects, and the “Discoveries” sector featuring solo and 2-person projects.
The “Encounters” sector is dedicated to large-scale sculptural installations and performances which punctuate the fair and is invariably a ‘feature’ of the fair, always attracting much attention and appreciation.
The “Kabinett” sector, previously only on show at Art Basel Miami Beach, will make its debut at this year’s ABHK, and features curated projects within selected gallery booths.
Complemented with a program of film, conversations and salons, (and a few parties!), Art Basel Hong Kong offers a stimulating week of all things art.
Beyond the fair, Hong Kong’s thriving arts scene is also on show throughout the week, with exhibitions, events and site-specific installations taking place across the city and beyond.
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The third edition of Art Central, taking place at the Central Harbourfront Hong Kong commences with its “First Night”on Monday 20th March 2017.
Timed to coincide with Art Basel Hong Kong, Art Central will be staged in a 10,000 sqm architect designed structure and feature approximately 100 leading international galleries, 75% of which will hail from across the Asia Pacific. The Fair will present 'Rise', a curated section of emerging galleries under six years old showcasing either single or dual artist presentations by early career artists. Art Central's dedicated moving image sector, sponsored by Mumm Champagne, Media x Mumm, will showcase experimental and narrative motion video by a series of international artists. Working in partnership with the Asia Society Hong Kong Center, Art Central will also host a comprehensive programme of talks and panel discussions.
New in 2017, Art Central will include a dedicated series of performance in partnership with 4A Centre for Contemporary Asian Art, Sydney. Scheduled to take place throughout the week of the Fair the programme will feature artists from across the greater Asia region.
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According to a study of 2015, undertaken by the Australia Council “Australians value the arts”. More particularly “[A] growing number of Australians believe that the arts make for a richer and more meaningful life; they influence how we express ourselves, our creative thinking and new ideas.”
The salient points highlighted in this report indicate that the arts, which are deeply embedded in the cultural sector, make a substantial contribution to the Australian economy. “Cultural activity” defined in this report as the visual, performing, literary and musical arts, contributes “$50 billion to Australia’s GDP, which is comparable to the GDP share in the United States”, of which $4.2 billion is derivative of the arts. Expenditure on culture by Australian governments was $7 billion in 2013 with a reported $1.3 billion having been expended on the arts. The report also notes, that the main source of income to the arts is consumer spending.
The latter is what I would like to explore today; how, we as individuals ‘support;’ in all its guises, the arts. And we actually do this in a very tangible manner. But before I do this some notes on money and the arts -
To an extent the arts has had an uneasy relationship with commerce, or more specifically, money!
A lot of commentary on the art market describes art in commercial terms: “investment of passion”, “wall power” and “branding”. And with these descriptives our appreciation of an artwork can sometimes be hindered.
By the same token we actually have to acknowledge that this commercialism, is of paramount importance to the livelihood of so many members of this arena; people such as the artists, the material suppliers, the galleries, the curators, the framers, the conservators, and ultimately, our public collections.
I can remember during one of my post-grad tutorials at Melbourne Uni, my fellow students becoming horrified when I disclosed that I worked at a gallery and what I did was sell art. Murmurings of ‘capitalism’ lingered in the air as I made a quiet but obvious retreat from the discussion and indeed, from the course itself soon afterwards.
I simply didn’t understand what all the fuss was about. 20 years later I sort of do. We don’t really like to besmirch the integrity of the arts (well certainly not the purists amongst us) with commercialism; we would rather remain discreet about it and therefore employ a secret code or language, and we utilise less obvious terms such as “acquisition”, “placement” and “de-accession” in lieu of buy and sell.
But here’s the rub - buying or acquiring art is an action by an individual which in truth, has a much more altruistic element, which we are mostly unaware of, and dare I say, holds a more formidable long term benefit, to a wider group. That group is our society. That infrastructure is our culture; our history.
So what I would like to do is to follow a trajectory of sorts from the artist’s studio, to the commercial gallery exhibition, to the curated regional gallery show, to the collection of a state-owned institution. And to hopefully demonstrate how an individual decision can have so much bearing on the ‘wealth;’ of our nation.
Working in the arts I think we sometimes take for granted that the public at large understand how the machinations of the art market operates; I don’t want to dumb this down, and I certainly don’t want to suggest it’s this simple either; there are a multitude of personalities, prejudices, politics and let’s face it, people, who complicate the process. But…in its simplest form:
In order for an artist to produce an artwork, he or she has bought materials for its production, from an arts supplier, a small business. The artist may also have had some of the work framed, another small business. A photographer has been called upon to ‘document’ the series, that photographer is another small business. A specialist arts carrier has been booked to collect and deliver this new body of work to the gallery. Before an artwork is installed at the artist’s representative gallery for exhibition purposes, several invoices have been generated by small businesses.
The gallery’s primary task is to represent artists on a long term basis, providing guidance and career management to their artists. The gallery incurs on-going costs in its support and promotion of represented artists: aside from the usual utilities and services including rental on space, a gallery may well have promoted the exhibition via print media, in the form of glossy art journal advertisements, in addition to perhaps production of a catalogue. On-line media may also have been utilised. An arts writer may also have been commissioned to produce a catalogue essay. The ‘in-tray’ is piling up.
The exhibition is one of the key promotional events for both the artist and the gallery. In preparation both the artist and the gallery have (hopefully!) worked in tandem in terms of promoting the forthcoming exhibition; the gallery will have alerted its client base which will invariably include individuals, institutions, public museums and galleries, as well as regional galleries, and much dialogue will have ensued with curators. Artists will more than likely have gone crazy on various social media platforms!! And told their fellow artists and possibly some of their former tutors and lecturers.
So after a glass of wine and an extremely entertaining conversation with the artist, you decide to buy a work. Let’s call this artist, Frank. The exhibition is availed some terrific press coverage over the remaining few weeks, in addition to an excellent review by a well-known critic. Several more works have sold now, and one work is on reserve for a public institution, the latter having been prompted by the gallery’s initiative in making contact as a result of the exhibition sales rate. (This is a hard-working gallery!). In the meantime you have told some of your friends, and in fact one of them is the wife of a senior managing partner at a law firm. His interest is piqued and he ventures one lunchtime into the gallery. He’s looking for a new piece to add to the firm’s collection. But his attention is diverted by something peeking out from the stockroom; a much larger and indeed, much more expensive work. With the approval of the law firm’s selection committee, the work is acquired. The gallery now has a new client.
Invoices are attended to forthwith; and most pleasing, with the addition of the law firm’s acquisition, some funds have been freed up for the gallery to now consider further promotional activities; perhaps an international art fair.
The arts writer, who also happens to operate as a freelance curator, having been given the opportunity to produce a catalogue essay for this artist, suggests to one of her colleagues a collaboration and one in which Frank’s work would be included; her colleague is employed by an interstate regional gallery. After much discussion and considerable paperwork, a survey show examining contemporary abstract painting has moved beyond its embryonic stage, and is now scheduled for 18 months hence. The gallery is advised of this forthcoming exhibition, and excitedly relays this news to her artist, Frank.
With this new development, the gallerist personally appraises the owners of Frank’s work, in addition to including this development in the gallery’s monthly newsletter. Happily this newsletter elicits some interest in Frank’s work, and a gallery client, who had been overseas at an art fair during Frank’s exhibition, requests some more information. There are only 2 works left in the gallery’s stockroom, but the gallerist assures the client that Frank is working on new work. (Frank was able to settle his invoices after the exhibition, and has some credit with his materials supplier.)
Meanwhile, the managing partner of the law firm continues to patronise the gallery, and brings a colleague one day, who happens to be on the Board of a Foundation, of which the latter has the primary mandate of collecting art by ‘living artists’. He’s rather taken with Frank’s work, noting also the artist’s developing CV (and in particular the collections in which his work is held), and has asked to be notified when new works arrive.
There is now a small groundswell of interest surrounding Frank’s work; indeed, the gallery has been contacted by one of the art magazines (as a result of the editor becoming aware of the commissioned essay for Frank’s exhibition), and is now seeking to commission a feature article in line with the forthcoming group survey exhibition. Potential opportunities in terms of further promotion, and therefore beneficial outcomes for the gallery and its artists are now able to be more realistically considered over the forthcoming 12 to 18 months.
Does Frank’s work end up in the NGV collection? Possibly. Does the Foundation acquire one of his works? Maybe. And does the gallery go on to participate in an international art fair? Hopefully. Did your enthusiasm for Frank’s art contribute to this? Absolutely!
We should get excited about our art acquisitions. We as a society should not be ‘shy’ about ‘investing’ in art. We can and we do contribute to the sustainability and development of our cultural infrastructure. Every so often, we simply need to remind ourselves what art does:
It starts a conversation; opens a dialogue. At its most fundamental, art expresses an idea, an observation, and/or an emotion. It enlivens our consciousness, and sometimes changes our experiences of an event or exhibition. It stimulates, nourishes and feeds our senses. It contributes to the ‘wealth’ of our culture. And it reflects our society, by way of visually documenting our history, a history which is important to our future.
*This speech was given at FUSE, Flinders Lane Gallery, during Melbourne Art Week.
Exactly two decades ago I bought my first artwork, from an art fair held in Melbourne: the Australian Contemporary Art Fair or ACAF, (later to become of course, the Melbourne Art Fair). This was its fifth edition, and my visit, a very tentative initiation into the art world. Were it not for the clearly, good cheer of the gallerist at the time – I asked for shock horror, “lay-by” – I may well have never bought the work, and perhaps even, not ventured into the gallery circuit quite as promptly thereafter, until much later, when I had a far healthier bank balance and greater self-assurance. Yet for this novice at the time, it was on reflection, the palpable upbeat and celebratory atmosphere of this environment, which has proven the more seductive memory. I treasured the catalogue from that fair, carefully turning the pages over the coming months, and committing to memory the many artworks I had seen, as I awaited the arrival of my first acquisition.
For the uninitiated, the art fair model or art event, these occasional ‘pop-ups’ scattered throughout the calendar year, may be viewed as a type of user-friendly adjunct to the more formal gallery infrastructure, and perhaps in a way, yield to the public sensibility of ‘looking’ or ‘browsing’, uninhibited or constrained by the possibly, watchful eye of the gallery’s staff, or the sometimes slightly intimidating yet obviously cool, environs of the white cube. Less obvious maybe is the aspect of ‘audience participation’ at these types of events; one’s attendance actually constitutes a conscious decision to engage with the visual arts. It’s certainly a step in the right direction to unraveling the sometimes complex or challenging nuances of the contemporary art scene.
In what can only be described as an extremely positive manifestation of ‘community spirit’, some sprightly individuals and collectives from the Melbourne visual arts sector have initiated and will be hosting a virtual plethora of art and art-related events in the 3rd week of August this year, a scheduled week formerly reserved for The art event in this fair city, the Melbourne Art Fair. Satellite fairs, art events and artist talks, forums and panel discussions, a street party, an “arts-speed-dating” event (brilliant!), curated exhibitions and yes, even an arts-related, ”progressive tasting degustation”, will be happening. What’s not to like?
Without dwelling on the demise of the Melbourne Art Fair, which has already received considerable press coverage earlier this year, what is more interesting for me, a former gallerist, now art advisor, and a born and bred Melburnian, is this type of dedication to the arts: to artists’ practices,’ to the collectors and valued clients of commercial galleries, and fundamentally, to the cultural infrastructure of our society.
Certainly for many, in the wake of the collapse of the Melbourne Art Fair, a “void” has been left, and whilst those in the arts will continue to endeavour to fathom the long term effects of this, it is the resilience of arts professionals that will be truly highlighted during this time.
Still endeavouring to bring something of the experience of an art fair, albeit on a smaller scale, Flinders Lane Gallery will be inaugurating its FUSE exhibition and special program of talks (9 – 27 August). Promptly responding to this ‘void’ in the arts calendar, the exhibition will seek to highlight the need for artists to “constantly respond and adapt in order to remain vital and valid”, and how this challenge, in fact allows for “dynamic shifts in individual practices”. Alongside the carefully curated exhibition, a special program of talks* will encompass a variety of topics, with the intention of providing an educative element to the program.
602 (17 – 21 August) is the culmination of a small group of commercial galleries from both Melbourne and Sydney, opening up a dialogue on “doing something” and “keeping something alive” during this period.
Described as “a spontaneous, creative, joyous coming together for friendly art galleries wanting to share with the public the best of what they do in a new and exciting setting”, 602 will bring together 9 commercial art galleries, both Melbourne and Sydney-based, showcasing the work of approximately 40 contemporary artists.
The usual parameters of for example, a gallery’s participation in an art fair, will be left by the wayside, allowing for a new freedom on what the galleries choose to exhibit, even accommodating a re-hang mid-way through the event. Harnessing a Berliner’s approach to creative collaborations, 602 will house the gallerists’ event in a re-purposed electricity substation located at the western end of the CBD. All very neu or frisch (German for “fresh, new, crisp, cool, green, bright).
With the support of the City of Melbourne, Art Month, Art Money and Work Club, 602 promises an innovative take on collaboration, and an invigorating urban experience for art lovers.
A similar type of collegiality underscores FLAIR Melbourne (18 – 21 August). According to Donald Williams, Director of Global Art Projects (GAP), this new event “all happened very quickly” but nevertheless with a great deal of dexterity; ensuing dialogue amongst the art affiliates at the top end of Flinders Lane on how best to ‘fill the gap’, allowed a revised focus on marketing the arts. As Jane Scott, Director of Craft notes, “it’s nice to collaborate with one’s colleagues” as such opportunities are quite rare. Flair Melbourne is an amalgam of artists, galleries, restauranteurs and musicians, and has been curated by ARC ONE Gallery, Arts Project Australia (supported by NKN Gallery), Craft, fortyfivedownstairs and Sofitel Melbourne on Collins.
A range of talks, forums and panel discussions with ‘creatives’, alongside curated exhibitions and an opportunity for audience participation in an immersive exhibition involving the camera obscura technique, in addition to a progressive tasting degustation at which guests might be dining on artisan ceramics plus jazz musicians responding to an exhibition, forms part of an ambitious and highly inventive program, and indeed, will make for very much the “festival” experience.
This theme of revision of the arts scene, was part of the impetus behind the now established SPRING 1883 (17 – 21 August). A hotel-based art fair that draws on the traditions of the Gramercy Park Fair of New York, SPRING 1883 was first presented at The Hotel Windsor in Melbourne in August 2014, with Sydney following thereafter in September 2015 at The Establishment Hotel.
Now in its 3rd iteration, SPRING 1883 has always sought to provide an alternative to the traditional art fair, utilising a boutique site, and thereby allowing for a more intimate engagement between artist, collector and gallerist. Fundamental to this initiative has been an appreciation by its participants of “shared conceptual engagements”. Exhibitors for this year number 27, and comprise mostly Australian galleries, in addition to several from New Zealand, and 3 international galleries (Grey Noise of Dubai, Southard Reid of London and KANSAS of New York) due to cross the equator.
Less arduous and only crossing the Yarra River will be Andy Dinan’s Windsor-based MARS Gallery to present an installation of several gallery artists at a “favourite, iconic city venue”, The Melbourne Supper Club. Indeed, over the years, many an après art event ‘drink’ has been quaffed at this Melbourne institution. MARS @ The Melbourne Supper Club (17 – 21 August) will literally, illuminate the usually subdued club-like lighting of the space with a projection of video works, light works and stereoscopic photography in addition to some delightfully engaging cardboard sculptures.
In like form, seeking out new opportunities for unrepresented and/or independent artists was at the forefront of 3 ‘disruptors’, artists, Tony Lloyd and Sam Leach, and arts writer, Ashley Crawford back in 2010. NotFair (16 – 21 August) was conceived as an alternative satellite event to what they believed was the “gallery-centric Melbourne Art Fair”. At its heart was a curated exhibition of emerging, unrepresented and independent artists whose work would not normally be entitled to be exhibited within the more traditional fair model: what has brought these unlikely ‘event organisers’ together “is a love of art, and a strong desire to ensure artists are given every opportunity to succeed.”
Now under the careful stewardship of Gina Lee, this ‘outsider’ art fair has matured into an established event, and notwithstanding its initial parameters, has seen its business model adopt a more formal demeanour albeit still retaining its edge. Incorporating a no doubt unruly street party on opening night, NotFair Art Fair will also include 3 different types of art tours to the other fairs and events in its immediate vicinity; a “three-way speed dating” event (sounds a bit risqué) for artists, writers and curators; in addition to an exhibitions program entitled “Sign O’ The Times” and curated by Kirsten Rann.
Speaking with Gina Lee, her position is certainly, ‘of the moment’; as she terms it, “there’s room for collaboration” and a much “greater cohesiveness within the visual arts community”; indeed, I would add, it’s a requisite, in order to create greater awareness amongst the public at large, to truly imbue a sense of enthusiasm and at the same time, extend a very friendly and fun invitation to self-educate.
So…get your walking shoes on, grab an umbrella, dress in layers (this is Melbourne), join the community, and challenge your senses, as a veritable visual feast awaits you.
© Catherine Asquith 2016
*Full disclosure: I am one of the guest speakers.
The 2016 Geelong contemporary art prize (formerly, The Fletcher Jones Prize), is a biennial acquisitive award of $30,000, for contemporary painting. The award has become something of a “signature event”, which ultimately, assists with the development of the Geelong Gallery’s collection whist at the same time, highlighting Australian artists and contemporary painting practice in general.
On average the prizes elicits approximately 500 entries. For this year’s award, the shortlist features 33 works by Penelope Aitken, Robert Andrew, Xiao Bai, Kate Beynon, Warren Breninger, Hector Burton, Deidre But-Husaim, Magda Cebokli, Trevelyan Clay, Jonathan Crowther, Marieke Dench, Shaun Gladwell, Julia Gorman, Michael Gromm, Marie Hagerty, Peter Hill, Naomi Hobson, David Jolly, Col Jordan, Ash Keating, Chris Langlois, Donna Lougher, Viv Miller, Jennifer Mills, Jan Murray, John Nixon, Rosslynd Piggott, Adam Pyett, Sally Ross, Brad Rusbridge, Huseyin Sami, Kate Tucker and Jurek Wybraniec.
The selection panel for the 2016 Geelong contemporary art prize includes guest judge, Victoria Lynn (Director, Tarrawarra Museum of Modern Art) along with Jason Smith (Director, Geelong Gallery) and Lisa Sullivan (Curator, Geelong Gallery).
Exhibition: 10 September to 13 November 2016
Founded in 1983, the MAMA Art Foundation National Photography Prize is a biennial acquisitive awards and exhibition, showcasing the best in contemporary Australian photography.
Since 1999 the MAMA Art Foundation has sponsored the Award, providing artists with an avenue to exhibit their work and the opportunity to enter into an ever-growing collection of contemporary Australian photography.
To celebrate the growing interest in photography, MAMA (Murray Art Museum Albury), through the MAMA Art Foundation now offers a major acquisitive cash prize pool of $50,000 which includes the $3,000 John & Margaret Baker Memorial Fellowship for an emerging artist.
More than 100 works by 65 established and emerging photographers, which tackle the themes of Narrative, Object, Landscape, Portrait, Documentary and Construct will be on show, and available for acquisition throughout the duration of the exhibition.
Since the award's inception, more than 90 works have been acquired by MAMA, enhancing the museum's superb collection of more than 1000 photographic works.
The MAMA National Photographic Prize exhibition continues until 7 August 2016.
The Archibald Prize is awarded annually to the best portrait, 'preferentially of some man or woman distinguished in art, letters, science or politics, and painted by any artist resident in Australasia’.
This open competition is judged by the trustees of the Art Gallery of New South Wales. Finalists are displayed in an exhibition at the Gallery (although in the early years all entrants were hung). Although it is a non-acquisitive prize, several of the entries are now part of the Gallery’s collection.
The Archibald Prize was first awarded in 1921. In establishing the prize, JF Archibald’s aim was to foster portraiture as well as support artists and perpetuate the memory of great Australians. Over the years some of Australia’s most prominent artists have entered and the subjects have been equally celebrated in their fields.
The Archibald Prize, from its outset, has aroused controversy, while chronicling the changing face of Australian society. Numerous legal battles and much debate have focused on the evolving definitions of portraiture.
First awarded in 1921, the Archibald quickly became a prize eagerly sought by artists, not only because of the money it offered and the publicity and public exposure it generated, but because it also gave portrait artists an opportunity to have their work shown in a major gallery. Previously, portraitists had been largely restricted to public or private commissions. These Archibald exhibitions allowed their artwork to be viewed as a serious art form.
Entries in the Archibald Prize are also eligible for the following prizes.
Packing Room Prize
First awarded in 1991 and chosen by the Gallery staff who receive, unpack and hang the entries, with 51 per cent of the vote going to the Gallery’s storeman, Steve Peters
First awarded in 1988 and voted for by the public visiting the Archibald exhibition
Winner announced: July 15